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In his second memoir, “Gamelife,” Michael Clune has given himself quite a task: to examine how computer games, popularly synonymous with hours wasted vegetating in front of a screen, profoundly shaped his identity.
The launch on Thursday night marked the culmination of several years of effort to incorporate the dramatic arts more fully into the University’s academic offerings.
Kevin B. Holden ’05 quotes poetry slowly, cautiously, dredging each line from memory with a look of intense concentration.
In “Honeymoon,” the candy layer that coated “Born to Die” and was already thinning on “Ultraviolence” has ceded completely to something sadder, something darker, something more bitter—and something more coherent and compelling.
"Of course naturalism is one very important way to tell the truth, but it is only one way,” Rushdie says. “I guess I’m just encouraging people to be a little more radical in the way they read.”
Despite the frequently quick turnover for synthy artists, Chvrches shows no signs of falling into a sophomore slump on their second album, “Every Open Eye.”
Following the premiere of its much-maligned experimental documentary, “The Reflektor Tapes,” Arcade Fire is debuting five previously unreleased songs—two of which, “Get Right” and “Crucified Again,” will be released on 7-inch vinyl.
Whether because they stood out somewhat awkwardly among a lineup of neophytes or because their stylistic range far exceeded of most of the weekend’s other artists, the Avett Brothers were presented with a challenge in performing at Boston Calling.
An exhibit on birds in the Harvard Museum of Natural History.
The Harvard Museums of Science and Culture seek to approach museums and their supposed genres in different ways by emphasizing the importance of museums in merging disciplines. It clarifies the divide between public relations and private operations of the museums, ushering in a new era for six museums that have existed for the most part independently for years.